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Full text of "The American harmony : or, Royal melody complete : in two volumes ..."

THE 




I N TWO VOLUMES. 



VOL. I. Containing, . ■ 

I. A AW and-CWtf INTRODUCTION to the Grounds of MUSIC, Rudemental, Pradua! and 7M«f£. 

H. A AVov and Complete Body of CHURCH MUSIC, adapted to the moft feleft Portions of the Book oi PbAL* . •>, 
oi either Verftons ; with many Fuging'Chorus's, and Gloria Patri's to the whole. 

III. A AW and S«/*ff Number of Hymns, Anthems, and Canons, luited to feveral Occafions ; and many of 
them never before printed ; Set by the greateft Mafters in the World. 

The Whole are compofed in Tnuo, Three, Four and Five Mufical Parts, according to the raceft Rules ; confifting o 
Solo's, Fuges, and Chorus's, corrcftly fet in Score for Voices or Organ ; and fitted for all Teachers, Learners, arid MaflCal 

Societies, &c. _ , ; 

The Eighth Edition, "With Additions. 



By W I L L I A M TAN .$ [ U , R, . Senior, Mufico Theories 



VC l 1' 5 ^ Praife_>r LORD, prepare sour glad Voice ; i//V Prai/e /'* Gr^/ Aftcmbly to fing, ? y . 
lai. exux. | /a ^ Great CREATOR) i tt ;1| y^ r ^ : «*i ' Children of'/AONle glad in their KING, J j 

. ■ . ! 1 — 

Printed and fold by Daniel Bavi.2 v,.'aV h*s,<Hpu&, njxt Dpgy.ro, St. Paul's Church, Kevjlury-Port. 1773. Sold alfo I 

by moft Bookfellers in Bcfton. . Juft: Publi.'Vc, ana to be folC by frid Bayley, and the Bookfcllcrs in Bojlon, The } 

Neiv Univtr/al Harmony, Or a Compendium of Church Mujic : Being a Collection of Favorite Anthems, Hymn-Tunes afi a i 
Carols, compofed by the greateft Mafters. Price Six Shillings. 



LL-S;dnts Tune 
St. Afaph Tnne 
Axminfter Tune 
Angels Hymn 
Beltord Tune ' 
Bangor Tune 
Broomfgrove Tune 
Beminfter Tune 
Barby Tune 
Bedford Tune 
Bincheller Tune 
Blenheim Tune 
Babylon Tune 
Clmit-Church Tune 
Chefterton Tune 
Dunchurch Tune 
Sz. David's Tune 
Dorcheller Tune 
Purham Tune 
ft. David's (New) 
;.r. Edmund's Tune 
ISwell Tune 
Exeter Tune 
Evening-Hymn 
Falmouth Tunc 
Few Hnppy Matches 
Guilford Tune 
Hexham Tune 
Hartford Tune 
Kimbolton Tunc 
St. Katheryie's Tuns 



An Alphabetical TABLE of Tustis, H sr m n 

Page 



and Anthems. 



12 ~ 

2 3^ 
7 

37- 
3 6 

39- 
1 1 - 

2 2 • 

2 3- 

26 

19. 

30 

3° " 

13 - 

Z4< 

3 1 • 
i<5- 
10- 
23 v 
8 - 
10- 



-31 
- 3« 
-■5 + 

if 
■ x. 
H 

T& 
"X.V. 

s 

3oj 
1 

•Vv* 
\\ 



ib' 

9 
14 

4 

9 



10 



jvinguon 1 une 




LandafF Tune 


34 - 3 


Lemfter Tune 




St. Luke's Fune 




St. Martin's Tune 


1 A 1 a 


iwancneiter l une 




DC. ivucnaei s 1 une 




ivianbiieiu 1 une » 


25 -if 


9 s 


Tvi rvrn i n rr Hmnn r\r T* VPflinO" 

iv iui iiiJJL'-i.j.yiiifi Ki v ci nil *; 


7 - i" 


TnT p i\/ nnru ' I * ' . n , 1 
ISCVVUUIy 1 11 lIC 

or. i\cOl b 1 une 


6 >y* 


5-13 


aKIlUIIl 1 


17 1*1 
1 1 - r\ 


Rugby Tune 


Z4~vt 


Rutland Tunc 


2 3 ^ '."V 


I\UillWCU a V>j.<jTnln% riymfi 




T3 iili-lll Tnnri 

,is.yj*iiii 1 uiitj. 


2Q - 


O -OU JL UU^ 


j * 1 


Savoy Tune 


33- 


1 UI I J.HH V-*Jli J. UlU 




Tamworth Tune 


. . } j ■ 1 


Trinity Tuno, * 




'Uj^jlifteT'* r V\xxip ', ; - * t 


■ . . 2 X 


I.i pomghani c l une 


2 — H- 




j u » 


Workfop Jpipe! ! ■ '•' 


37^T 


Windfor Tune 


.- "'.It-''-. 


; We>Wftaih, Tune, . ". ; i* « ' 


-2(5-.,lj> 


'.]vVe;idoi>en Tune " ' 




Yaxley Tune 


ib-^ 


Zealand Tune 


35-^' 



Tunes from theMelody of thcHc.u-t 

J 95 
89 
<8 4 
* 88 



Banbury 
Bray 
Belford 
Chelmsford 
Darlington 
Ely 

Farnhara 
Ixvvorth 



^93 

v 84 



Killingworth 85 
Lutterworth V96 
New-port 
Portfmouth 
Quinzay 
Utoxeter 
Wan tage 

Wellingboro' 85 • 
Woodftock 81 



88 

J 89 

J92 
x 95 



ANTHEM S. 

"jT> Leffed are they that are pure 
\j Behold 1 bring ye Tidings 
God be merciful unto us 
Give the King thy judgments 
I will love thee, O Lord, my 
I was glad when they faid 
I will magnify thee 
O give ye thanks unto the Lord 
O Clap your Hands together 
O Praiie ye the Lord of Heaven 
O Praife the Lord, O my Soul, 
Praiis the Lord, Oroy Soii!, 
Rejoice in the Lord 
Sing ye merrily unto God 
They that go down to the Sea 
V/hen Ifrcel came out of Egypt 



6gV 
62 y 
70 y 
49 ' 
4 x ' 

82 ' 
80^ 
60^ 

74 y 

94 < 
65- 

45 



78 
90 




The PREFACE. 



AS Pr. a ti e and Thank/giving is abounden and indifpenfable Duty from all Men untoGoD for ever, for all his Graces, Mer 
cies, and Benefits towards us j and is by Him accepted as the higheji Part of Divine Worfoip : fo h?.s it been held in the 
greateft Reverence, Honour and Ejleem, by the moft learned, holy, and 'virtuous Perfons in all ages ; and by moft Religion: 
in the known World. 

And as Music k is its Copartner, it is no lefs efteemed ; but has the Superiority of all others-/; and Sciences whatfoever, by 
Px.eafon it is employed in the higheji Office that can be performed, by either Men or Angels ; whereby we found forth the Pruijb 
' and Glory of the great Author of all created Harmony, &c. &c. 

Praising of God is as early as the Creation itfelf, for when Jehovah had laid the Foundation of the Earth, the Morning 
Stars fang together, and the Sons cf Men Jhouted for Joy. This plainly (hews us our Duty on Earth ; and, that it was God's holy 
Will at the firft Creation, that we fhould celebrate the Praises of Jehovah by Singing ; which is a moral Duty. 

The Royal Pfalmodift King David, our Grz&tMafter, whom we imitate, (though but faintly for want cfhis Heart) was v.ct 
onH' a Man after God's own Heart, but was alfo the greateft Promoter of it that ever lived ; who feldom met without a Pfilm ir> 
his Mouth, or an Inftrument in his hand ; in whofe Mufeck was fuch fweet, facred, and charming Power, that it drove the evil 
Spirit from Saul ; — and Elijha brought the holy Spirit upon himfelf ; which Examples plainly demonflrate, that no evil Spirit 
cares to abide where Mufeck orHarmony is fettled : And certainly, when it is compofed into a fweet and regahrCompc/tticn, faita- 
ble to the Subject, it renders it more fit for the holy Spirit to work upon, and convey more Truth to the Underftanding. 



Hence it is, that all muff allow Mufeck to be the Gift of God, as a true Reprefentation of the fweet Confcnt and Harmon?, which 
his infinite Wifdom hath made, in the firft Creation ; and is given to us as a Temporal Blefjing, both for his Service, and pat 
own Recreation, after hard Labour and Study. In 



4 



the PREFACE. 



In our Saviour, and his Apoflks Time, Pfalmody was alfo recommended as a Chriftian Duty ; for St. Paul fays, Exhort 
ye one another in P/almt, Hymns, and fpiritual Songs, Singing and making Idelody in ytur Hearts, unto the Lord-— / -will 
fing with my fpirit and with Under/landing alfo.— And St. James fays, If any be affiiSed, let him pray ; and if any be merry, 

let him fng P faints. 

There is fcarce any Author in holy Writ, but recommends this Duty ; as incumbent unto Men, almolt in every part of 
Scripture ; which are here too tedious to mention. Holy David often cries out, O that Men would praife tit Lord for hit 
Goodnefs and for his wonderful Works to the Children of Men.—O fng unto the Lord a new Song: Sing unto the Lord 

ill the Earth-— Bluffed are they that can Rejoice in thee, O Lord, for they fhall walk in theLight of thy Countenance Artd ; 

p.lfo all primitive Writers in Times of Old, greatly encouraged this Divine and noble Art. 

Got) r.lfo fent h:s great aad heavenly Quire of Angels to uihcr in the Birth Qf his Son Jefus Chrifl, with thefe words, 

Qlery ie to GOD on High, Peace on Eo.rth, and Coed will towards Men, &c. 

Singing ofPfalms is a Duty a;id OfHcc angclica'r, and greatly recommended tp us to practice as a Cofpel Ordinance ; and 
ihat we fliould al ways with one Mind and one Moii'th • glorify God with the Voice of Melody. Whenever I fing myfelf, 
methinks, the very Motion that I make with my H md to the Mufick, makes the fame Pulfe and Impreflion on my Heart ; it 
■ nils in my Spirits, it difibfes a Calmneft all round me ; it delights my Ear and recreates my Mind, it fills my Soul with 
pure and heavenly Thoughts, fo that nothing is near me but Peace and Tranquility : And when the Mufick founds fweeteft in 
ihy Ear, Truth flows th-c.ckarefr. in my Mind. 

And as Divine Mufick exceileth all ether Arts in the known World, and is deemed a heavenly Exercife and (landing 
Part of Devotion, how much the more ought we to endeavor the true Knowledge of it, to perform it decently and in good 
Order : And to follow the Examples -or all good Men who have taken fuch Pains . to recommend it. 

It may be further added, from ths Experience of many good Authors, that where Pfalmody is mod ufed, thofe Churches are 
generally the imoft rilled : it having a greaf Influence over the Minds of moll People, efpeciaily Youth ; and keeps them from 
many Vices on the Lord's Day. It is a grent Prefervative to Health, it ftrengthens the Breaft, and clears the Lungs. It helps 
:i Hammering Speech (as I know by Experience) to a true Pronunciation of Words ; and is th<* only Way to Knowledge, where 
Nature has bellowed a good Voice, which excelkfi lafiruments ; and the betft« die Voice is, the racetcr it is to ferve God- 
withal ; it being given us for the very fame Eld,, 

\ , * ' Singing 



the P R E F .A C E. 



5- 



Singing is acceptable to God at all Times, and in all Places , For the Lord heard Paul and Silas, at Midnight when ibey 
were in Prifon and the Prifon Doors were opened, and their Bands inert loofed, Sec. This very Inftance one would think is 
fufficient to make the moll hardned Contemner of this Ordinance leave off railing againft it. It is a great fcandal to our Reli- 
gion, which is the pureft in the World, if.rightly undcrftood, to fee how greatly Psalmody is neglected ; and where it is a little 
minded, it is carried on quite different to what was intended : For inftead of being done with good Oeccnomy, zealoejh, nnd 
with a willing Mind ; it is either done Lazily, or with Cavilling, and Self-Conceit, which renders it conlewptahle enough ; as I 
know by daily Experience, from near 40 Years Practice, in divers Countries in this Kingdom. 

If this one Remedy was well applied, (as I faid before in a nother Treatife). it might in fome Meafure, work a Re/ormafisn ; 
i. e. Firjl, that Perfons of the Higher Rank would more encourage it, then would the lower. Clafs nnturally follow their 
Good Examples, either for Lo-ve or for Fear; by which Means we.lhpuld have better Prefortnances , larger Cvngregatictis, and 
our Religion more flourifoing, inftead of a daily Decay. 

Secondly, That all Churches had Places for. their Quires, conveinent Enccuragrmr.it u> per lever? in Pcrfctmr.nrc, and be 
furniOied with able and (kilful Mailers, regularly qualified for fa-good an Undertaking. 

From what has been faid, by good and holy Men, concerning this great Duty, let u- ail cncca\ovr 10 fe llow their iced 
Advice and pious Examples ; and daily drive to fupprefs all Opponents as would binder p t ur Pcvotipr.s ; v. !*:•;• I y we mry at- 
tain a more fure and eternal Weight of Glory, &c. 

But to promote the Praife and Glory of God, as far as I am able,. 1 ft. I have laid down a fliort and c. ; . mm ucticn 
to theGrounds and Principles of Musick ; wherein nothing thatis ufdul for this Booi is omitted. 

2d. I have adapted good and agreeable Musick to the beft Portions of the Ps a i ms af Dai- id, ofri'b ;- \ cifim s ; v hit I 
is neither too dull, nor yet two gay : but fuch as well becomes the Subject of the Words ; with many /Yj'Vf Cho ». 1 , 
which may be emitted, where Voices can't be had to perform them according to Art. 

$d. For the further promoting of Divine Musick, I have laid down, A new and feledt Number cf Divin • Hv 
eafy Anthems and Canons, now in Vogue ; compofed in Two, Three, r.n.l Four Parts ; and have fet the Whole 
for Voices or O'gar, &c. which I hope will be as ufeful as intended, S.x 



An Explanation of the mofi ufeful TERMS that are generally ufed in Music k 



ADAGIO, A very flow Movement. 
Affetuofo, very Tender and Af- 
fectionate. 
Alklujab, PRAISE THE LORD. 
Alto, Altus, The Counter-Tenor. 
Arfin and The/in, Rifing and Falling. 
Bajs, Th* lowell foundational Part. 
Binary, up, and down, both Equal. 
Cadence, All Parts making a Clofe. 
Cantus, The Treble, or higheft Part. 
Canon, A perpetual Fuge. 
Chant y To ling, Alfo the Church Tune. 
Chorus, All parts moving together. 
Clofe, All parts ending in Harmony. 
Counter-Tenor, Between Treble and 
Demi, The Half. Tenor. 
Diapafon, A perfeft Eighth. 
Diapente, A perfect Fifth. 
Diateffaron, A perfeft Fourth. 
Diatonick, The common Scale. 
Divoto, In a devout Manner. 
Eccho, Soft, like an Eccho. 
Epachord, A Seventh. 
Encore, over again, more ftill, yet. 
Exampli Gratia, Ex gr— As for Example. 
Fin, The laft r or finiming Note. 



Forte, Loud. 
Fortijjimo, very Loud. 
Fuge, Notes flying after of the fame. 
Gratiofo, Graceful, and agreeable. 
Granda t , very grand, or the greateft. 
Gravi/onn; , very grave and folid. 
Harmonick Sounds, Sounds agreeable. 
Haut Contra, The Counter-Tenor. 
Hemi, The Half. 
Hexacard, A Sixth. 

Imperfecl, Cords of the lefTer Intervals. 

Interval, The Space between Sounds. 

Inharmenical, Sounds difagreeable. 

Lamantatone, Lamenting and grave. 

LanguiJJiant, In a languilhing Manner. 

Largo, A middle Movement of Time. 

Major, The greater. 

Medius, The Counter-Part. 

Minor, The LefTer. 

Moderatio, Of a moderate ftrength. 

Mujico-Theorico, A Perfon who ftudies 
Mufuk, writes Treatijes, and explains 
dark Paflages therein j and publickly 
gives Inftrufticn by Praclice. 

Nota Bene, Note well, ormark well. 

Octa ve, A perfect eiglr, of 1 z Semitones. 



Organe, The Organ Part. 

Piano, Soft and Tweet like an Eccho. 

Pre/to, Quick. 

Pieno, Full, or altogether. 

Quarta, Four Parts in Score. 

Rccie 8c ReSiro, Forwards, &Backwards. 

Replica, Repre/a, Let it be repeated. - 

Score, All Parts ftanding Bar sgainftCar 

Semi, The half. 

Sctnitonick, The Octave divided into 1 2 
Solo, Solus, Alone. (Sounds. 
Sharp, Sounds fharp and chearful. 
Syncopation, Sounds driven thro' thtBars 
facet. Silence. 

Tenderment, In a tender Manner. 
Tranfpojition, Removeing from one Key 

to another. 
Treble, Threefold the 3d Octave above 

the Bafs. 
Tripla, Time, moveing by Threes. 
■ Tutt Tutte, A)Y Vcket , together. 
Veloce, Very Quick. 
Vi-vace, Quick, ^ay and lively. 
Vibration, Shaking or Trembling. 
Vigorofo, with Life and vigour. 
Voce Solo, A Angle Voice. 



A New INTRODUCTION, &c. 



CHAP I. 

Of the GAMUT, and its Ufe : And of CLIFFS. 

THE fole Subjefl of this following Difcourfe is SOUND ; which ^ or Sicence, is called Musick, which may be perform- 
ed, or made, either by a natural Voice, or an artificial Inftrument ; which ^>7 may be properly fumm'd into thefe Three 
following Heads, viz. Tune, Time, and Concord. 

I. Tune is regulated by the Scale of Mujick, called the Gamut ; which gives a true Diftinftion of all Sounds, or Tones, 
cither Grave or Cheerful. 

II. Timj; is comprehended and nnderftood by Marks or Charailers called Notes ; which being fixed regularly on the Lines 
and Spaces of the Gamut, guideth the Performer to a true and exact Movement of Time, either Quick or Slow ; which when per- 
formed by Voice ax Inftrument alone, 'tis called Melody. 

III. Concord is when two, three, or more Sounds, are performed together in Mujical Concordance ; there being the Diftance 
of 3,5, 8, or more Notes above another ; which when regularly compofed together, 'tis calledH a r m o n y , i. e. Three in One. 

The true Nature and U/e, of theie three Heads, I lhall endeavour to demonstrate ; and all their ufeful Branches thereunto be- 
longing, in a plain familiar Method, in the following Chapters. 



Sett. 1. Of the GAMUT, &c. 

THE Scale of Mujick, as Authors report, was Compofed about the Tear 960, by Guido Aretinus, a Monk of St. Benedict's 
Order, who firft received it from the Greeks, and afterwards reduced it into the form as it now appears, who ufed to place 
this Greek Letter T, at the Bottom of the Scale, from whence it took its Name, which was called Gamma, or Gamut, but in 
Englijh G, which fhewed from whence he did derive it. 

This Scale contains all the Degrees of Sound, which is the Grammar or Ground-work of all Mujick ; without which no Know- 
ledge can be gained in thii Noble and Divine S. ience. Therefore, I lhall firft fet down, and afterwards explain it. 

The 




X ^ 3 

G fdra.t in Alt 

F 

E la 

D 1«JU 

G folfi 

B faliini 

A lamire 

CJ folreut — C // 
F faut 

E I ami ' 

D hifulu 
Cfolfaut—i 
B fabcmi — 

A Imir'i 

6 folreut , 

rf-'-ClhT-m 

£ lami m 
D folre 
C faut 
B mi 
A ft 
Gamut 




J.— 



The 

M 
-/<■■ 

la 

- fa 

fa 

- Tvli 

la 

—fil 
/« 
■ l*.. 
M 

-fa 

Mi 
• la 
fil 

—fa 
la< 
fil 

f* 
M\ 

la 

m 



A INTRODUCTION. 

Scale of Mufick, called the GAMUT. 



7> 



1 ^ 
!> * o 

2 o 



t* 



Explanation, 



The Scale is divided into three Parts, each iWr including 
rive Lines ; in which you have a Name for every and eve- 
ry Space ; they being either a ouM or Tew diftant, oru- 
from another : And when your Notes are fet on any of them 
you mull call them by that fame Name as is given to that Lihe 
or Space. 

Obferve, that every eighth Letter, (together with its Degree 
of Sound) bears the fame Name as \va* before ; the Scale being 
founded on no more than feven Letters, viz. G, A, B, C, D, 
E, F, and then G again ; for every Eighth is the fame, up- 
wards, or downwards. 

This Scale you muft learn perfect by Heart, fo that hav- 
ing the Name of every Line and Space perfect in your Memory, 
you may readily call your Notes in any of them. 

Obferve alfo that all Notes that ihallafcend above F-faut, itj 
the Treble, are called Notes in Alt ; and all Notes that defcend 
below Gamut in the Baft arc called Doublet, as Double -F-faut. 
Elami, Defolrt, Sec. 



Seft. 2. Of 



(t the Grounds j/MUSICK. 



Sedl. 2. Of the fever al CL£R£S, and their Ufe. 

' N :He foregoing So?/* of iW/j/fr-f, there are three feveral or Charafiers, called CLIFFS ; one of which is always 

aught to be) placed at the Beginning of every Stan2a, or Line of Mufick ; in order to Ihew you what Part 
vhetner Treble, Tenor, or Bafs, &c. which Charailers give to the Line, whereon they are fix'd, the Names of 
vjr, C, or F ; whereby you may find the Names of all the reft in their proper Order, both above and belcw it > 
1.1 k, or Cliff, is like a Key or Inlet to the Scale of Uufick ; for every Change of Cliff, changeth the whole 
Order of the Scale, &Cv 

1 . The Bafs or F faut Cliff is generally fet on the fecond Line from the Top : It gives to its Place the Name F, 
and when fung called Fa. 

2. The C-folfaut Cliff is moftly ufed for the Counter-tenor or inner Part, and may be fet on any of the four lowed 
Lines : It gives to its Place the Name C, and when fung called Fa. 

3. The G folreut Cliff, may be ufed for either Treble or Tenor, or for any inner Parts, and is commonly fet on the 
fecond Line from the Bottom : It gives to its Place the Name G, and when fung called Sol. 

For the practical Scale of Mulick, on thefive Lines, vocal and inftrumental, in the three ufual ClifFs, fee Page 7th. 

N. B. That in the Compafs of every eight Notes, there are two of them called femi, or half Tones, which are from Mi 
to Fa, and from La to Fa ; there being a Bar drawn between them. Suppofe a whole -Tone be an Inch, the half-Tone is 
but half an Inch, which is a mathematical Demonftration. 

C Learn firft by Cliffs to call your Notes, both Lines and Spaces right. ? 
/ Then learn in time to ground your Skill in Mufick's fweet-Delight. S 



CHAP. II. Of the Names and Meafures of the Notes, and their Refts and Ufe. 

THIS Scale comprehends the fix feveral Sorts of Notes ufed in Mufick, with their Refts under them ; of which I fhall 
jdifcourfe and begin with. 

1. The Semibreve whofe Length and Proportion of Time is as long as you may leifurely tell 1, 2, 3, 4, by the flow 

Motion 

B 



[4] 



A new INTRODUCTION 



Motion of the Pendulum of a Large Chamber-Clock, or any other Pendulum of the like Proportion, it being the longeft Note 
of any now in ufe, tho' formerly it was the Ihorteft. It is the Meafure Note, and guideth all the reft. 

2. The Minim is but half the Length of the Semibreve, having a Tail to it. 

3. The Crotchet is but half the Length of the Minim, having a black Head. 

4. The Quaver is but half the Lmgth of the Crotchet, having the Tail turn'd up. 

5. The Semiquaver is but half the Length of the Quaver, having the Tail turn'd up with a double ftroke. 

0. The Demifemiquavcr is but half the Length of the Semiquaver, having the Tail turn'd up with a treble ftroke, which 
is the (horteft Note now ufed in Munch. 

Reits are Notes of Silence, which hgnify that you mull reft, to keep filence, fo long as you would be founding one of the 

fefpective Notes. For the names of the Notes, fee Page firft. 

• ' Of other Characters ufed in MU5ICK. 

1. A Flat is a Mark of Contraction, find caufeth anyNoteit is fet before that rifeth a whole Tone, to rife but half aTone ; 
1 mean to fiat or fink it half a Tone lower than it was before, the fameas from Fa to La, or Fa to Mi ; alfo all Flats that are 
let at the beginning of a Tune ferves to flat all fuch Notes that happen on that Line or Space, except any Note be contradicted 
Dy an accidental Sharp or Natural. Fiats are a!fo ufed to regulate the'Mi, in tranfpofuion of Keys. 

2. A Sharp is a Mark cf Extention, it being to raife or (harp any Note it is fet before, half a Tone higher, the fame 
as from Mi to Fa, or La to Fa. Likewife all (harps that Utc placed at the Beginning of the five Lines ferves to lharp 
all fuch Notes as (hall happen on that Line or Space, Vxcept contradicted by an accidental Flat or Natural, which ferves only 
for that Note. Sharps are alfo ufed to regulate the Mi, in Tranfpofition of Keys. 

3. A Repeat is ufed to direct' the Performer that fuch a Part cr Strain mull be repeated over again from the Note it is fet 
•ver, or under, or after. Either of thefe Words fignify the fame, viz. Reptatur, Reprefa, Replica, Replicato, Reditta, 
Riditta, Encore, ( Italian.) 

This Cbarafier is alfo ufed in Canons, to direct thefollowing Parts to fall in at fuch Notes it is placed over. 

4. A Slur, is in form like a Botv, drawn over, or under the Heads of two, three, or more Notes, when they are fung to 

but one Syllable. * .... 

5. A Single Bar, ferves to divide the Tim in Mufick, according to the Meafure-Note. 6. Double- 



to the Grounds of M U S I C K. 



6. Double-Bars ferve to divide many Strains in Mufick, as a Period at the End of a Sentence. But if they be dotted on 
each fide, as thus :11: it fignifies that fuch a Strain, or Part, malt be repeated over again. Double-Bars, when ufed in Pfalm. 
Tunes are often fet only for the benefit of the Sight ; or that you may, if you pleafe, reft to take Breath, the Time of one 
Beat, or two Beats, if the Subject fhould fo require, C37. 

7. A Dire ft, is placed at the End of a Line, to direct the Performer to the place of the firft Note in the next Line. 
Either of thefe Words fignifies the fame, viz. Index, Guidon, Monftra. 

8. A Natural, is a Mark of Reftoration, which being fet before any Note that was made flat or Jharp at the beginning, 
seftores it to its former Natural Tone, or as it was before thofe Flats or Sharps were fo placed. 

9. A Shake, called the Trilloe, is commonly (or ought to be) placed over any Note that is to be /baked or graced. 

10. A Clofe, or Concludo, is three, four, or more Bars together, and always fet after the laft Note of a piece of Mufick, 
which fignifies a Conclujion, or the clofing all Parts in a proper Key. 

The Pick of Perfeclion, or Point of Addition, which adds td. the Sound of any Note, half as much as it was before When 

this Point is fet to a Semibreve, it muft be held as long as three Minims, l£c. 

• Of Pricked Notes obferve, That fometimes you will meet with a Point at the Beginning of a Bar. which belongs to the 
Sound of the laft Note of the foregoing Bar, and that all Notes thus divided are called Notes of Sincopatior. or Driving- 
Notes, from their being cut afunder with Bars, and driven thro' ; of which I fhall fay more when I come to treat of time. 

Obferve, That you will often meet with Quavers tied together in threes, which three are to be performed in the time 
of a Crotchet. If Crotchets, but one Beat , tffc. 

There is another Character ufed in Mufick, called a Hold, made thus T", and ufually placed over any Note that may b<? 
held fome what longer than the Note contains. When any Reft is placed juft under it, both (landing over a Note, it is called 
a Reft or Hold, denoting, that you may either reft at pleafure, or hold «n the Sound at Pleafure, on all Words of great Im- 
portance ; or liften if all the performers are in true Order, &c. This the French call a Surprife. 

There is yet another Mark, called a Divider, diverfly marked, thus =., or thus 0, which divides the Score of the Com- 
pofition, ftiewing what Parts move together, and what do not. 

C Unlefs all Notes, Names, Refts, and Marks— Are perfeel known by Heart, ? 
£ AW ever can attain to knovj—^The Rules of MufickV Art. \ 

CHAP 



Anew I N TRODUCTION 



C H A Jt\ III. 

SeQ; i. Of Tuning the Voice with Variety of Leflbns for young Beginner], which Ltffons fee Page Firft. 

IT is not to be imagined that any Art or Science can ever fo perfectly be learned without a compleat Mafter or Tutor as it 
is with ; though many have attained great Skill by reading good Authors ; and not tinged with the Spirit of Contradiction 
nnd Self-conceit, have accquired great Knowledge therein. The hrft Rule the young Performer is to begin with.is the Gamut,as 
I have faid before, which he mult not only learn to fay, but alfo mull know well by Heart, both Line and Space, learning 
both by Letters, and by the Vocal Syllables. 

By thefe Leffons you are taught how to rife or fall to any Sound that afcends or defcends but one Degree, in regular Order ; 
or hew to Jkip or leap from any Sound given, that rifes or falls either Thrids, Fourths, Fifths, Sixths, Sevenths, or Eights; 
which when perfectly learned by Heart, both by Letters and by Way of Sol Fa, will enable you to proceed to fome eafy Pfalm- 
Tune that is natural, which is as eafy as any Leflbn that can be fet ; always obferving the Places of the Semitones, and to call 

nil natural Tunes at firft by Letters, as well as by Sol Fa, &c. t3"N. B. That Solfaing of Notes is always ufed in 

Psalmody, to learn the Mufick by ; that the Sacred Word may not be profaned by the many Repetitions, &c. 

Sect. 2. Of the fe veral Gr ac es ufedin Musick. 

THE Trilloe, or Shake, is the principal Grace, ufed in Mufick ; that is, to move or make your Voice or Inflrument, diftinctly 
on one Note, or Syllable, the Diftance of a whole Tone. Firft move flow, then fafter by Degrees ; and by obferving this 
Method, you will certainly gain the perfection of it. You muft move as faft as poflible while the Length of the Note is per- 
forming. The Trilloe, or Shake, may be ufed in all defcending Pricked Notes, and always before a Clofe ; alfo on all defcend- 
ing Notes, and defcending Semitones, but none ftiorter than Crotchets. 

There is another Grace ufed in Mufick that requires much Judgment, called the Grace of Tranfttion ; that is, xojlur, or 
break a Note to fvveeten the Roughnefs of a Leap ; and in Instrumental Mufick, Tranfttion is often ufed on the Note before 
a Cloje ; by which you will fee how you may make Tranftions, which fometimes are pricked down in fmall fupernumerary 
Notes, they being as it were to bear or lean-on as you flip over Intervals, to foften the Roughnefs of a Leap, Sec. which is 
the Perfection of a Singer, be it Man or Woman, 

CHAP. 



to the Grounds c/M U S I C K. 



[ 7 3 



CHAP. IV. 
Of Time in its various Moods, and how to beat them. 
Sett. i. Of the Meafure and Proportion of Common-Time and its various Moods. 

Ct Om mon-Ti m e # , is meafured by even Numbers, as 2, 4, 8, &c. each Bar including fuch a Quantity of Notes as will 
/ amount to one Sernibreve, (which is the Meafxre-Note, and guideth all the reft) it being called a Whole Time, or the 
Time-Note. ^ 

But to give every Note its due Meafure of Time, you muft ufe a conftant Motion with your Hand, or Foot ; once down, and 
once up in every Bar ; which Motion is called Time and Meafure. 

I told you before, that the Time and Meafure of the Sernibreve, (which is the Meafure-Note in Common-Time') was fo long 
as you may leifurely tell 1,2:3,4: therefore the Motion of your Hand, or Foot, is to beat two with your hand down, and 
two up, in every Bar ; fo that you are as long down as up ; which fort of Time is known by the feveral Marks or Moods 
called Quadruple Proportion, being meafured by Four. 

The Firft Mood or Mark, is the Adagio Mood, which denotes a very flow Movement. The fecond Sort is the Large Mood, 
oeing half as quick again. The third Mood, is the Allegro Mood, or Retorted Mood, being as quick again as the fecond ; fo 
that you may tell 1,2: 3, 4 in every Bar, almoft as fall as the Motion of a Watch. It is fometimes marked with a large 
Figure of 2 ; and fometimes contains but two Crotchets in a Bar. See the Examples of the feveral Moods of Time Page 
firft j by the Help of which, and obferving other Lefibns in Common Time you may be able to beat and perform any Lefi'on in 
this Sort of Time, ftill dividing the Sernibreve into as many lefler Notes as you pleafe, according to its Meafure-Note. 

Syncopation, 



* There are two forts of Time, in Mufick, viz. Common Time, and Triple Time. Common Time contairr the quan- 
tity of one Sernibreve, or two Minims, or four Crotchets in a Bar ; the two firft are to beat wiih the Hand or foot 
down, and the two Iaft with it up. The firft Mood or Mark for Common Time, is a fimple C, and denotes a flow grave 
Movement. The Crotchets in this Mood are to be fung in the Time of Seconds ; fo that 60 Crotchets, 30 Minims, 
ex 15 Simibreves, sre to be fnrg in the Time of a Minute. The fecond Mood, which has a Line drawn acrofs the 



j g ] A New. INTRODUCTION 

Syncopation; or Driving of Notes, is very difficult for young Beginners, by reafon your hind or foot is either up or dow.i, 
while the Note is founding : But the foregoing Examples are fufficient to give you a right Understanding of them, by telling 
i, 2, with the Hand down, and 3, 4, with it up. 

Se&. 2. Of the Meafure and Proportion of Tripla Time, in its various Moods. 
' TT* Ri p l a TifiE is meafured by odd Numbers, as 3, 6,9, &c. each Bar including either 3 Semibreves, 3 Minims, 

|_ 3 Crotchets, or 3 Quavers ; two of which mull be fung or played with the Hand or foot down, and one up ; fo that 
vou are jaft as lo ig again down as up. 

The firft, and generally the flo.veft mood in Triple Time is called Sefquialtera Proportion, being a Triple Meafure of 
three Notes to two fiich like Notes in Common Time, and fung or played in the fame time ; which is one fouth Part 
quicker in every Bar. 

This Mood is called Three to Two, and includes three Minims in a Bar, which are performed in the fame 

Time as two Minims in Common Time ; two beat down, and one up ; marked thus : 3 

The fecond fort of Triple Time, is called Three from four, each Bar containing three Crotchet's, or one pointed 
Minim ; two beat down, and one up ; marked thus : 3 

j • 4 ... • 

The third fort, is Three from Eight, each Bar including three Quavers ; two down, and one up ; and are marked thus .• 3 

8 

Thcfe being all the Moods that are commonly ufed in Vocal Mufick. And 



Middle of the C, denotes a brifk movement ; the Time is to be beat and fung about half as faft again as in the flow 
Mood : and when the C, is inverted, or turned backwards, or marked with a large Figure of 2, it denotes a very 
quick Movement, and is to be beat or lung about as quick again as the floweft Mood. Note, That the Mood in 
Common Time, which denotes a brifk Movement, called the Largo Mood, is now generally fixed to all Pfalm Tunes 
that are in Common Time ; in which the Crotchets, arid fo all other Notes in proportion, have been from a long 
Time paft and now f° r the moll Part, are fung in the time of Seconds. 

Triple Time contains 3 Minims, 3 Crotchets, or 3 Quavers, in a Bar. The whole Bar or Meafure, in all thefe 
different Moods, arc divided into three equal Parts, called from that Property Triple Time : the two firft in each 
Bar arc to be beat aud fung with the Hand or Foot down, and the third or laft with it up. Three Minims in a 
B ir are marked thus ■!■ and are to be fung near as quick as Crotchets in flow Com mori- Time. Three Crotchets in a 
Bar are marked thus ^, and are to be fung abfat as quick as Crotchets in brifk Common Time, or tke Largo Mood. 



to the Grounds of M U S I C K. 



And though thefe Direttions import, that your muft be always doivn at the firft Note in every it is row become 

a practice to beat every 2?£«/ down, both in Common Time and in Triple ; But I think it is not very material how a prrfon beets', 
or what Motion he ufes, fo he keeps but a true Movement, to anfwer both Notes and Refis : For, unlefs a perfon can count hi ; 
Time in his thoughts, as he fees it, it is impoflible either to beat, or perform in Con/art. 



CHAP. y. 

Of the fever al Keys in Mufick : And of Traqfpofition cf Keys. 

IN Mufick there are but two natural primitive Keys, Viz. C-fiaut, the Jharp and. cheerful Key ; and J. re, .the -no melan- 
choly Key : And that no Tune can be formed' on any other Key but thefe two, without the Help of placing ri'S.cr Flats or 
Sharps at the beginning of the five Lines ; which tranfpofes B-mi, the Center or Mcfier-sSCe (together w'uh all the reit ; n fteir 
Order, both above and below it) to be the fame in effect as the two Natural Keys. For an example of the two natural Keys, 
fee Table Page 7 th. 

The Key-Note is the laft Note of the Bafs, by reafon it is the Fundamental Part of all others ; which is taken from B-mi, 
the Center-Note, which lies between both the Key-Note's, the one fiat, and the other fiarp ; which are fo called, from their 
having their Thirds, Sixths, and Sevenths, Major or Minor above. And as the Key-Note of every Com^faion is a certain 
principal, and Dominant Tone, fixed on to guide all other Sounds in Order, rbove and below it ; even fo B-mi governs 
that ; and when B-mi (or Mi, as we call it) changes its PJace ; all other Notes, in their Order, like fo many Attendants, re- 
move along with it. And although, in Infirumental Mufick, it is not practicable to change their Letters for < very P. •move of 
B-mi, by flats, or fliarps, (by reafon they always play by Letters) yet they are obliged to fiat cr Jharp all Notes zs are order'd 
to change the Places of the Semitones, to be the very fame in effect ; yet it may be practicable in Focal-M. fi & , if the per- 
formers are well fkill'd enough to call their Notes by Letters ; but this is too perplexing for young Beginners, «i y gcnerr.i'v 
£ndiog it difficult enough, at firft, to fol-fa them. 

But I fhall no longer defcant on this Point ; but fhall, in the next Place, fet down the f.verr.1 Rij&o&es of /'•;■', ( 
concerned in this Book) whereby you may be able to tran/pofie any Piece from its Nafural-J : ••; • c hei ... fi . ■/- 

Keys, whether fiat or Jharp ; and to be the very fame in Effect, though higher, or lower, Gfr. whiffc T:sbh y.<v may l^e 
Page firft. Bz - H A F. 



[ to ] 



A New INTRODUCTION, 6c: 



CHAP. VI. 



Ofthefeveral Concords, WDhcords ; both Perfect a»i Imperfect » And of the Figures, ufedin /^ThoroughBass : 

W/r^ y«wtf general Rules thereunto. 

THERE arc but Four Concors io Mufick, viz. the Unifon Third. Fifth and Sixth ; (their Eights or Oclaves are »!fo 
meaat) The Umfon is called a Perfetl Cord and commonly the Z 7 //?^ is fo called ; but the /v//^ may be made Im- 
perfetl, if the Compofcr plcifes. The Third and Sixth are called Imperfetl ; their Sounds not being fo full nor fo fweet it 
'he Perfetl : Bat io four parts the i'/xM ii ufed inftead of the Fifth, in fome certain Places, when the Fifth is left out ; fj 
in Effect, there ate but three Concords. 

The Meaning of the Word Imperfetl fignifics, that it wantt a Semitone ai'xitPerfeclion, to what it does when it is per- 
fect • for as the Lejfer, or Imperfetl, or Minor Third, includes bat three Half-Tones : the Greater Or Perfetl, or Major- 
Third includes four Half Tones, <bc. _ 

TheDiscoRDS, are a Second, ^Fourth, and zSeventh, and their Otlavss : though fometimes the Greater-Fourth ccm:i 
very near to the Sound of an Imperfetl Cord it being the fame io Ratio as the Minor Fi/th : but I will fct you 
An Example of the fever al Concords and Discords, with their Octaves under them. 



CONCORDS. 



DISCORDS. 



Their OBamts, or Eights 



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X. 


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6. 




2. 


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22 


24 


26 


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N B. That if a Pc/'tf* or Inftrument, could reach to Ten Thoufand Otlaves, they are all coantcd as one in Natore. 

ThcTable 
made either Grt 
But they may be i 

flands joiacj w ; t h another ; and that Difcords may be ufed in Compofiuon, if mixed with Judgment, &c. 





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TVKtnc^ ANTHEM.-": LXXU. 



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aid tKy ^-'g^ — teour — 



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;s: CHORUS. 



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J I J7T"44j -fH J J 1 .• J J I 1 itlrll r r 



If— l'a — ei, and fc > ivjTliauk- unto tlic L"lU*'.. - j> ray Lr^/Peacs u{ Je-ru — fa-lc m . -»;efe w«tK«a 





















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^ thy Wallj,Feace fca rt'tltun tlvy Wall, an.J Pl«r*~te-ou(— tiki;, nit J PUnfj uf-rtil >t» ilhm fl'y '-' - ' 



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( HAL .as page 6' t 



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Sajvoar who is Chrifc the 'jprd I And this {hall fee a Sign unto yon ye fh 
_J . _i ! , — i_ — p i — — — r-, -. J • - — . r 



all 



find 



d-.- and Id ~\z — : — - - - - xS i 



the "abe meanly wrapt in fwathiijg Band 




p 



Glory be toGod on high 

6 



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Glory be to God on high Peace be on Earth 




g 



to-wards Men 



/ * ♦ 



:s: An ANTHEM, jj. CXLVIU 



57 



4 »r 



m. 



O prai^i th<r JLorj> f H°.av!ii, p*Vtf*.Hiro -»H y;An: ?ls. p rVif- Hinj Sun 'A M^onJE-nth V Wa-Ter', 











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Kin. . K JuJ: = ,M--n H ^ngcb.praU Hi M H,. N ».. .-.11: .11 



pr a i ff |i is l(V IT i: Na nif f n f ^— ver. .i> 




j J 1 1 J r -id 



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•F r Ft: fj.^l.tli ~\ T ' ji J. in I »:ra inS'le; -Hn I U Ii^t F£ c rlirl c •> imii-.ii Y wr re foon erf- ted: 



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oice in. llie XioRi), O ye R.igbteous, rejoice, re-joi 



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A CHO. 



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-Joi ce rejoice in tb.e Loiu>, O ye "KigUteous, Pot it fce-com— eld -well the Juft.tke Juft to £> e thanfcfVIL $. 



(■€oa nterr) . fondle.) Y7 wl rJ 



-0- 



/' .Let all It and in A^e, let all ft an 



d in Awe, ftand in Awe of ib.eLon.TJ, £o r the Earth it is full of His 

r r ■• 



_L«et all Itand m A^t, let all it and m Awe , ft and. in Awe ofib.eLox<x> y fori 





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Continued 



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13 



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Txxage-^c Re — joi eein. TheXoKn, O ye !R.iyk— -teouj, and praifeH'tnrWitnyXttte ^ ^ H arp: 



1 





5« HAL. 



I Tor it tecometkwell^Jurt,tKeJvifttoI>e thankful. '^'Hal. H 




i 



Continued. 



=~->>5-H J— H t l 'j>=[ 



I 



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{hall eadu.re,,tkey {kail endure £oz e-ver,for ever, for e-ver,£or e-ver, aniforever, th.eirPeacefkn.il endurefor ever..$. 

Jl I I I t II 



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r 



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L J ff4f r rrtr^ 



CHO, 



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70 An ANTHEM. O^T IXVH 



Sod I>e mer-ci — full unto nr, and hlefi tlt, andihe'wxu the Xight ofThy Count enaace^andLe me — 



// 




32 




— • — S — - 



■r-ciful un-to -ns :ThatThyWays majL e knoam. ujo on Earth, undTbyfav 



ing He altk 



r 



■ 



Coitfinued. 



7* 



fPIENO CHOTvO.) 



-m—ri * L ' I ♦ • 



71 



at: 



AT- 



a— ino— ng" all^Na. "Hons. Lei: "trie "People praife Tkee, O Cro?^, ^reajet allthePeople jaraifeTLee . 

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m 



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O let tke ^Ta-tyjns rejoice and f>e vlacl, forXlioTa£kal"tJu<lffe^T(>lk. xigk— +eoui[^— ly, ancL govern tlie Na 



-p r rH*«prr« p frp » Jp p 

ETi J r r|i [ixi-^i ir E[ [ p Ip J f lit 



7 



iff 



Winue d . (PIENO CHUKU .) 



ii 



<e - - 



— — ri 



of ^tke Eartk. 



r * 



trio? forth berlncre 



I J _ ^ « ■ XX:. 



God, even, our o~u.<Joje {kaU.£ive w 





HL» £le«W: CJo^fKaUtlefc « «A »UiheEa<l. of ike 



d t? _ . 'i u ,>» -- n c«« 




74 An ANTHEM O/T CW^ 



as 



Hi 



5 



O praife yLoBJJ , O prai fe -£ LiOUD, O my Soul; O Xi ob. jj my Grojj^Tkovi aittecome exceeding 

r ^ r# — ^ r — J — ri»? ^ 1 r » =— = > 



:s: 



srlo— ri- owj iTkou art ctoatkedThp-u art cloa — *k- 



glo— ri- otm iTWa art cIoatkeci,Xljp'u. art cloa — 



// CHO..ft 



— ed -witk TVIa-- j ef — ty HonPTre/ g' 



(te^q».;rpft^_J,f-UJ.Ib 



f 



j jggl lgg 



J 

Xkon d<*ck'daitwitkLigkt-,a.s it -were -witt a Garment ,tHonBecltar*4r li^ht aiit-werewitb.aCJarme*„ . ■ tpreAa.' * ~ 



anA tkou fpraacleft ^ "WmP'S t rio.t if reacted y Win 



IS 



Continued. 



73 



» 1^ v 



r© — X <e 



v k 



EZJZ 



P 



^- j of^ Eleav'n.-r like » Cnrtain 



\_ eJttKe wiaofjV,tlaoxifpreadeSt "f" Win or*, indThou fpread-ft-y "Wings of^Heav'ns ai it 

^'^f^ T^+f-f r r I ft i J r) 1 J?J.- V- * 



it -were "witk a Curtain , 



c „ ^ 



.3 



2 



3d£ 



He laiA ^ Foxm— da-tioas of y Ea rtk, and rt detk on. ^ Wings o£ j "Wind. He ere— a- 

r ? — 



XT 



• tt-^ 



at 



-teJL all, *»o.d fee d— etk tkem : and all ^ Eartk is fiU'cL -with Good. fiflCHO.ag 

. . . , — r * 1 , n '- 



4 



78 A a ANTHEM. CVH, 



// Tkey, they t"k»t^"o doWn.ToJ^ Sea in. Skips, and oc-cupytheir£TM'ueGirigrBatWaTecs,tliefeMea.fee Grar>\s Wond 



f 



a: 



thefe Men fe- 



-ej -thefe Men. fe- 



-e- 



5^ 



e HisWon.cler.r,Htf great mighty "Wonders mjDeep. Cl 



^ For He comauinleik^ -fto 



*• ny Win 3s "to £>lo"W, juxclHe lifte+k up WiV- 




-0— 
ej thereof: 



__ _ ^ _ ■ — 



They are mo-»nTed.i>p as it "Were into Heaven; and +liea down, down in — to j- Deep; andtkeir Sowl 



t 



i 



-4-- 1- | > 



v melts XVXV "itli Tfowtle, tkev ft^'er to V fro lite a druoketiMan., »ni ar e at TU*irWiT» Eai 

ft 



. ; if 



I* 

ZL 



i 



-V" 



Con.tin.xied.. 



r * 



73 



Tkea., tkea-tliejcry -ixnto Groi> in. TneirTro-uJile, anly Storm is -R'tlL'A: aniHe t rings Tkem toy H«-"vea 



in — p 



r p m 



\ — V- 



iplc 

^ wkeretkey-w owlcL&e, anA all re joice,, all re— -joice., all re — -joice, and al J 1 re— joice 

Q 



^6 



CHO. 





! -y — 



r r — c_ 



i i 



— ©- 



So l«taU"N£en con£i'£Gror>'iWoAi fyGroocb«fs>tgive-tl»aiiJu VigStfrfl aafa V r'ivetl\»nVB{orHislLi»e , ii»fi forHisKindneGto ^ Sons 

ofMen^HAL^ 

< — I ' ll -fif-e H— r i » * I 1 t i I i 



fE5 



SO An ANTHB1. Of CXXXVI. 



O give jeTL-suJu «a-to ^ Lobj>: 



(Jivetkanki utt-to J Crou of^od*: 
For.W. 



O tkank^ I»o*j>,^ Lo*D of lord*: 



E3 



eat 



m 



(piENO-CHOTLOj 



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1 



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to rule fDay: ^ JM><m Vtats to rule -fr l%to:TorHi^rcy ,e n -dureA. fo e e 




Wooclftock.Pf.23: 



81 



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<>n n l .-s pIJ I M e- 



The Lord Wimfelf, y mightyLo rd.vocUf'f^: to fae my Guide; y Shepherdi>y whofe conftsntCare my "Wants are all fuppiy'd . 



-e- 



EC 32 



nz:i3 



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XX 



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lie ieiide-r Cf^ he m- Kes iofee^ . V j :ur!y thc-r? repofe:Thenleid, l;\e t > c oolShid s. !U\wh-r? r?frc»fhiirAV-ire rs flows 



3*2 Aa ANTHEM. Oy. cxlv. 



-3— TT 



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y / ^""^ i , i — _ 1 — . - 



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E-va-ryDay^iUI oiveTWfe, .very Pay v,iU Igive Tka.J^ K i^ifcThy Na««, V P i.tt=TUyN^ 

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Infill 



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The iiO rd , y" only Cos ir g-reaT.andgreariy to fee praif'd; 111 Sion, on whofs rt*jjjay Mount,l\is facre dTHtone is rais'd 



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Chelmfford. Pf. 54 
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o: 



Lord , favema/forthy gWiousNanie, ^ in thy •Strenpthappes-.rvTi jv.i^ _- my C^ufer'jcr.-^t myPitiy'r, "U to hLyWcrcbo-iveEa 



l — -2- 



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illing worth, ri. 4. 

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O L o rci ."that a rt my r igkteoiuju dge to my Complaint tfiveE^rXKouftiE re deemft mefroniDiftrefs,liafveMer cy.Lor cl kear, 



3 



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"We Hingbrough . 



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IX 



Thy clreac^fuIl/Vn^erXorclreO:rap.'i, < terpareaWr<?Tc\i'forlorn'. Coirectme not lnthyfierceWraTli.Tookeavy to ke bora. 











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86 The true CHr J 3 TIAN s LITAN Y. 



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THE 




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lltittoersal fjralmotrift* 



O R, 



V O L. II. Containing, 

A Choice and Valuable Collection of Psalm and HYMN-Tunes ; Canons and Anthems ; with Words Adapted to 
each Tune. 

The whole Compofed in a New and Eafy Tafte, for Two, Three and Four Voices ; in the mod familiar Keys and 
Cliffs :— Calculated to Promote and Improve this moft Excellent Part of Social Worjhip ; and render it both U/eful 
and Delightful ; in S>uir;s, as well as in Congregations in the COUNTRY. 



By A. WILLIAMS, Teacher of Pialmody, in London. 



To which is added a Variety of Favourite Hymn Tunes and Anthems ; Collected from the Lateft and moft Celabrated 
Authors ; Carefully fet in SCORE, and neatly ENGRAVED. 



Printed and fold by Daniel Bayley, at his Houfe, next Door to St. Paul's Church, Newbury-Pcrt. 1773- 

Sold alfo by moft Bookfellers in Bofon. 



ADVERTISEMENT. 

f Take this Opportunity to return my fincere Thanks to my Freinds and 
| Cuftomers, for their kind Acceptance of my Publications of MUSICK, 
whih has far exceeded my Expectation :--And I would inform them 
that I iiavenow added the chief of Mr. Wiltia?ns\ Univerfal Pfalmody :-And 
as I expect they will be bound moflly with the Royal Melody, I have there- 
fore left out thofc Tunes which were in it ; and as Mr. fanfurs Intro- 
duction to Mufick^ is univerfally approved, I have not added Mr. Williams 
which is very lengthy ; as my deiign was to have a- large Collection of 
Majick) at a low Price. 

I have alfo added fundry Anthems and iJ>7///z-Tunes, from the latejland 
moil celebrated Authors, fuch as I iind approved of by my Mufical Friends, 
which I hope will be received with their ufual Candor, 

From their 

Humble Servant, 

DANIEL BAYLEY. 

Newbury -Port) January 5th 1773. 



An Alphabetical TABLE of Tunes. 



TUNES Names. 

A IKffftreet 
Xjl Aylelbury 
Aithione 
Alceftor 
Amfterdam 
Arlington 
Armly 
Barnet 
Bath 

Beconsfield 
Bsrhefda 
-Bletchingly 
Blcwberry 
Bloflbm 
Bofton 
Brentford 
Britannia 
Buckingham 
Burnham 
Cambridge New 
Charlotte 
Chefant 
Cumberland 
Colcheftcr 
Dalflon 
Dtrby 
Down 
-J>refdet 



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Eafter Hymn 

Egham 

Elenbro' 

Evening Hymn 

Farnham 

Funeral Thought 

Goodmans 

Grantham 

Great Milton 

Greens 100 

Halifax 

Hereford 

Hoi borne 

Iflington 

Kingfbridge 

Kettering 

Little Marlborough 

Littleton 

Low Dutch 

Mansfield 

Maryland 

Monmouth 

Magdalene 

Morning Hymn 

Namtfre 

Newbury 

Newcaftle 



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Norfolk 

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Parindon 

Penbury 

Plymouth 

Prefcot 

Putney 

Rickmanfworth 
Rineton 
Ripon 
Rochford 
Rochefter 
Savoy 
St. Albans 
Anns 
Clements 
Giles 
Hellens 
St. James's 
St. Matthew 
Sydenham 
Stafford 



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Stanes 

Stebbing 

Stortford 

Strawbury 

Stroud 

Stroud water 

Sutton 

Thorley 

Troy 

Trumpet 

Twyford 

Virginia 

Wakefield 

Walbrook 

Walney 

Wallingsford 

Walfal 

Warwick 

Watling 

Welch 

Weftrninfter 

Weftcrhnm 

Weitonfavel 

Wickham 

Winchefter 

Wells 

York- Street 



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Hymns, Tunes, and Anthems Beginning 



AWAKE my foul 
• Behold I bring you glad Tiding* 
Hark '. Hark ! what News the Angel 
I heard a voice 
I was glad when they faid 



Page. 
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59 
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Let the lhriU Trnmphet's warlike 

O Zion I bring you 

O be joyful in the Lord 

Sing, fing unto the Lord 

Tell ye daughters of 

Thro' all the changing fcencs of 



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i\ my poorHenrt ftriruri': deep he in the cold Civern; »f the s Groun. 



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43 



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